Maya Mythos is a forum to share and exchange ideas about Ancient Maya Mythology * It provides descriptions comments and web links to all mythic aspects of Maya religion history and decipherment * Site Coordinator Carl Callaway at ajchich1@gmail.com

Monday, December 2, 2013

Modern Maya epigraphers at Mani and Iximche have documented via two carved stelae the history of their communities. The Iximche Stela anticipates the celebration of the 13th Bak'tun in December of 2012. To read the full story click on the following link below:

The new Iximche stela. Photo courtesy of the MAM Web Blog:http://discovermam.org/wp-content/uploads/2013/11/8-and-9.jpg

Modern scribes designed their opening Long Count after one carved on Quirigua Stela C with a few modifications to fit the hight and width of their new composition. Here is a partial illustration of the original Quirigua text:

Quirigua Stela C. Drawing by Linda Schele courtesy of FAMSI.

Interestingly, the Iximche creation account is abridged from the Quirigua text and mentions only the planting of the three "celestial" stones/thrones of creation. The modern Kaqchikel scribes then add a few new interpretive words. They say that the three stones were creados los contadores de la cuenta vigesimal del tiempo.

Drawing of the new Iximche stela. Photo courtesy of the MAM Web Blog:http://discovermam.org/wp-content/uploads/2013/11/101.jpg

This interpretation is in agreement with what we know about the era day story as recorded in ancient inscriptions when time stood at the very heart of the cosmogonic act.

According to ancient scribes, the gods of time (los contadores--the gods of the Pik, Winikhaab, Haab, Winik and K'in time periods) gathered together with the gods of 0, 4 and 8 (the Aj Mih K'in, K'inich Ajaw, and the Aj Ixim) to reset the orderly motion the vigesimal count--the basis of all Maya counting. In fact, the Dresden Codex records that the God of Number Twenty (the Aj Winik) had to be born into the world shortly before creation (Callaway 2009). Winik is also a name for man himself (Barrera Vásquez 1980) who counts with twenty fingers and toes. So, his birth signalled the birth of man's consciousness and ability to chart the heavens and measure time (Brotherston 1992). In this way, the gods reaffirm at the close and start of each cycle a cosmic order that was set down at foundation of the cosmos and given to man to maintain. How wonderful it is to see the Modern Maya maintaining this sacred count with the planting of new stones for a new era!

Works Cited

Barrera Vásquez, Alfredo

1980 Diccionario Maya Cordemex. Mexico: Ediciones Cordemex.

Brotherston, Gordon

1992 The Book Of The Fourth World: Reading Native Americans Through Their Literature. Cambridge: The Press Syndicate Of The University Of Cambridge.

Monday, November 11, 2013

Back from a long break after completing my PhD thesis, I thought I would start things off by featuring a list over the next few months of several Maya God profiles and include some new readings and interpretations. A short commentary on each god will be given along with its “activity profile” that tries to ascertain the identity of the god and its particular duties. The commentaries are by no means a complete or final word on the nature of each god and are only meant to serve as referential descriptions. Their profiles will no doubt change and expand in the coming years with each new investigation as their activities are mapped across Maya myth, ritual and art. I am starting off with an enigmatic set of Gods nicked-named the “Paddler Gods”.

Tikal Bones from Burial 116Drawings by Linda Schele Courtesy of FAMSI

The “Paddler Gods” first identified by Mathews (2001:394) are paired deities seen often ferrying gods in a dugout canoe. The portrait heads of each aged god bear wrinkled jowls, jutting toothless jaws. The “Jaguar Paddler” displays the ear, canine and spots of a jaguar and the “Stingray Paddler” wears a pierced bone (stingray spine) through the septum of his nose (Mathews 2001:394). Variant logographs night (AK’AB) and day (K’IN) substitute for their respective names (Villela 1991) revealing their dualistic nature representing night and day. Their role as paddlers are best known from Tikal Burial 116 bones MT38a and MT38b that show them at the bow and stern of a boat transporting a deceased Maize god through the underworld waters (Stone and Zender 2011:51). Yet, they are also depicted on various ceramics as the boatmen who carry the Maize God to his place of rebirth (Quenon and Le Fort1997).

Kerr Vase 3033 Photo by Justin Kerr Courtesy of mayavase.com

As Jimbal Stela 1 and Ixlu Stela 2 attest, MUYAL cloud scrolls coil around these gods as they float above rulers performing various rites; Jimbal Stela 1 reinforces this cloud-rain association by adding to their appellatives the title of the rain god NAH JO’ CHAN CHAAK; in some cases the “Paddler Gods” might perform possible rites of “bathing” (AT) (Stuart et al. 1999).

On era day 13.0.0.0.0 4 Ajaw 8 Kumk'u, these gods are related to three actions: Quirigua Stela C records that they erect the first of three stones in a sacred locale named NAH JO’ CHAN “JAGUAR THRONE”; Piedras Negras Altar 1 associates them directly to the “changing of the altar/pedestal” event; while “Tila” Stela A relates the pair to a possible “bathing” event.

Sunday, March 17, 2013

Hello Everyone,My book Rubbings of Ancient Maya Sculpture by Joan W. Patten is now in print. The book Includes a short ten page biography along with a compilation of Maya Rubbings by the Late Joan W. Patten. While working for the Guatemalan Government in the '60's and '70's, she fashioned a large corpus of over 900 Maya Rubbings as well as replicas of ancient Maya sculpture:

American Sculptor Joan W. Patten (1924-2005) lived and traveled extensively throughout Guatemala from 1965-1982. The Guatemalan Government granted Joan official, carte blanche permission to make molds, casts and replicas of ancient Preclassic (1500 BC-250 AD) and Classic (250-900 AD) Maya relief sculpture. Her replicas of Maya stelae currently stand in Guatemala’s Museo Nacional de Arqueología y Etnología, the National Zoo and at the Museo Popol Vuh gardens at Francisco Marroquín University. In addition to the replicas, she executed hundreds of rubbings in oils on colored fabric. With a sculptor’s touch and infinite patience, she rendered images onto cloth that are remarkably sharp in detail and line. The rubbings include images that preserve an abundance of information about Maya sculptural traditions, iconography, hieroglyphic writing, mythology and history.

A selection of these rubbings can be viewed at the Mayaweb Art site under the 'rubbings' tab:

I met Joan Patten toward the Autumn of her life in 1997 at a Bill Davies dinner party in San Luis Obispo, California. The connection was electric and we talked of all things Maya deep into the night. I later visited her apartment in San Francisco to assess her cast and rubbing collection that numbered over nine hundred images. I was stunned how well she captured the details of the glyphic writing that chronicled of the deeds of ancient gods and heroic kings. As I read the glyphic texts, she was equally impressed by how far Maya studies had advanced in breaking the Maya Code and reclaiming lost history. In the months that followed, I and my friends Jeff Buechler and Paul Johnson worked to document and preserve this unique record of Maya monumental sculpture. While attending the University of Texas in 2004, Joan called telling me she was diagnosed with cancer and we spoke of the beauty and brevity of life and how best to preserve her work for future study and scholarly access. Upon her passing, I received a letter from her son Keith Patten stating that Joan had asked that a portion of her rubbing collection be left to me along with her small library of Maya books. I was deeply touched and always knew I would return this gift with a publication on Joan’s work. If any of you know of any rubbings made by Joan send me an email so I can reference them and add them to the inventory.